What effects do recent developments in computer vision have on photographic media and forms? What is the role of photographers within this transforming apparatus? As Artificial Intelligence not only learns to see and analyze images, but also potentially re-define the notion of ‘representation’, what are the critical implications of new imaging devices, socially, politically and culturally?

Our social interactions happen increasingly through online sharing platforms. How is our representation of the self changing and how does “social media photography” affect our identity and our social interactions? What is the role of photography in the age of universal voyeurism, Instagram stalking, celebrity hackerazzis and internet exhibitionism?

Images online compete for our attention, which in turn has become a currency of a specific economy. From memes to clickbaits, from cat videos to food porn, we are constantly lured and distracted, our time and gaze tracked, our attention quantified through the number of likes and followers. What are the possible futures of the image economy? How can this seemingly invisible ecosystem be exposed, challenged and critically discussed within the photographic field?

How is photography affected by the shift that sees images more transmission-oriented, constantly circulated over global networks and infinitely reproducible? Has photographic exchange become more democratic or just part of a different system of power? How do the properties of the network affect ideas of truth and representation in photographic media? Has the networked image increased propaganda or resistance?

From screenshots to in-game photography, from CGI to neural networks, photographs are less and less dependent on the material world. Can we think of photography when no light, no lens and no physical subject is needed? What happens when photography is entirely simulated, virtualized or built from scratch through algorithms?